Next month I’ll be speaking at a Star Wars symposium in Portsmouth, hosted by the Faculty of Creative and Cultural Industries and organised by Dr Lincoln Geraghty.
Celebrating Star Wars Day (4 May 2018) through discussion and debate, this symposium will offer us the opportunity to interrogate why the franchise has been so successful and how much it has impacted on popular culture.
Dr William Proctor (Bournemouth University) will talk about the global research project on Star Wars after Disney’s acquisition, discussing changes and shifts in the franchise seen since The Force Awakens, and then turn to consider The Last Jedi as site of struggle between
Dr Matthew Freeman (Bath Spa University) and I will analyse the multimedia storytelling of the franchise, both historical and contemporary. Dr Freeman will discussing Splinter of the Mind’s Eye and the 1970s culture of transmedia contingency. I’ll be looking at Forces of Destiny, plastic representation, and transmedia story strategies in Disney’s Star Wars
There will be a special screening in the afternoon, introduced by staff from the School of Media and Performing Arts, followed by a Star Wars-themed quiz with prizes.
The day will begin at 9.30am in ELW 1.09, and will end at 6.00pm.
Registration is free though Eventbrite, and a full schedule of events can be found here.
In 2014, Mina was diagnosed with Chronic Fatigue Syndrome and Fibromyalgia. One of the significant symptoms is a weakness of the muscles which meant she required living aids to assist her with raising her son. “I went into the local mobility shops and was dismayed to see that the limited range of aids were all fashioned towards elderly people or people with little appreciation of the more alternative ways of fashion,” said Mina. “My main issue came when I was invited to a wedding. I had a great outfit but my living aids make it look so ghastly! So I had to go without and suffered, leaving the event early.” It was then that she struck on the idea of modifying them herself. She did the same thing with her wrist and knee supports.
In the light of last week’s post, which described Victorian attitudes towards the disabled as ‘a combination of fear, pity, discomfort and an idea of divine judgement’, it was encouraging to see that the neo-Victorian update doesn’t share these feelings in any way, shape, or form. The steampunk subculture’s love of crafting has effectively turned disability—often a marker reserved for evil or monstrous characters in popular culture—into a superpower.
It turns out that this topic (like many topics) has been on the steampunk community’s collective mind for a while. Steampunk Touristtalks about why this subculture is a better fit with disability than others:
When it comes to Steampunk […] one isn’t restricted to that sort of rigid rule set. Rather than being a predetermined cast of characters, Steampunk is an artistic style. While it can stand alone, it can also be added to other things to make them Steampunk. You don’t have to be someone else; you can create your own character. What that means to a person with a physical disability who relies on a device is that their device – be it a wheelchair, cane, oxygen tank, leg braces, or even glasses – can be dressed up and blended into a costume, or even made the centerpiece of it. […] Within the world of Steampunk, those things don’t make them stand out as “others”; they’re merely smart, fashionable accessories. And one can easily imagine that were someone brave enough to dress up a prosthetic limb with Steampunk flare, they would most likely find themselves the belle of the ball at any event, and for all the right reasons.
Steampunk literature is a disruption of the historical narrative. When I’m creating a universe for my characters, I treat history like the icing on the cake. Or, sometimes, the rosettes. I am creating a world with airships, sky pirates, auto-baubles and appropriated Victorian aesthetics. I pick and choose which parts I borrow from our history and which parts to embellish.
So, in a steampunk setting, what does accessibility look like?
In the Tales of the Captain Duke, Professor Sewell is the morally-ambiguous Tony Stark figure. She becomes one of the first students at Lovelace University, a school founded by Mary Somerville and funded by the heirs of Ada Lovelace. She pioneers the field of biomechanical engineering with her incredible prosthetics and reshapes the Victorian understanding of disability. The classic image of the crippled, impoverished veteran pushing himself on a scooter is undone, reshaped into a foreman supervising work at a factory on eight-foot legs. The Professor disrupts society with her inventions, and challenges her peers’ understanding of the possible.
Do you have an example of how steampunk approaches disability? I would love to hear about it!
I have a special request for all my fellow Star Wars fans – but especially the ones who remember when it all started.
I’ve got a couple of questions about the fandom and marketing that, as much as I already know, I’m just not up to speed on. It’s partly for a work project (more info below), but also just out of interest.
Do you remember reading anything that described Star Wars as a boys’ club – or, on the flip side, recall seeing an appeal to female audiences either in storytelling or in marketing?
If you’re a female fan, what first drew you to Star Wars?
What kinds characters, stories, or merchandise has the franchise marketed with a clear idea of men/boys or women/girls in mind?
What are some of the ways (good, bad, and hilarious) in which Star Wars has tried to appeal to women/girls?
What kinds of things have been perceived as gender-pandering, by fans or by the media?
I’m especially interested in concrete examples from before the prequels, but would welcome anything you can send my way. Films, toys, EU, Happy Meal tie-ins. The more specific, the better.
I’m too young (1987) and too foreign (grew up on US military bases) to remember examples from 1977-1990, and I’ve probably missed out on some recent ones as well. The information available online about Star Wars marketing and mythmaking is pretty sparse before 1995 – no surprise, given that the internet wasn’t really a big thing until then – and there’s no way I can afford all the paper fanzines, adverts, articles, and reports I would ideally like for this project.
Here’s a list of some topics I’m already looking at [updated 13 November 2016]:
I would hugely, hugely appreciate any info you can give me. Tips for where to look or who else to ask are also very welcome.
You can get in touch with questions or suggestions on Twitter (@MegenJM), via e-mail (DeBruinMJ@cf.ac.uk), or just by commenting on this post.
May the Force be with you!
A little background info / disclaimer
I’ve been a Star Wars fan since 1994, and have been hanging around TFN since 2001. I even penned and beta-read some fanfic on the TFN forums, though I can’t for the life of me remember my original login password. Now I’m a teacher and academic researching popular culture (more here: www.frankenfiction.com). Although my fandom is a huge part of who I am, and why I ended up doing this kind of work in the first place, I haven’t had the chance to write about or research Star Wars – until now.
I’ve just been chosen to write a chapter for the upcoming book Star Wars and the History of Transmedia Storytelling. It’s scheduled for publication in 2017, to celebrate the 40th anniversary of ANH. The point of this book is to argue that Star Wars ‘laid the foundations for the forms of convergence culture that rule the media industries today […] spreading that storyworld across as many media platforms as possible’.
My chapter will argue that even though the news media tends to pitch Star Wars as a boys’ club, it actually did a remarkable job of inspiring female fans from the very beginning. Rey has gotten a lot of attention lately, but she’s only the latest in a long list of reasons a woman might want to watch Star Wars. Even aside from Princess Leia, there have been lots of ways the franchise has gone out of its way to try and appeal to women, and even though some of its early attempts fell flat or flew under the radar, it helped to pioneer a lot of the storytelling and marketing strategies that have taken over twenty-first-century culture.
I will obviously ask for your permission before I even think of using anything you say in the book, so feel free to speak your mind. I’m mainly interested in whether other people’s experiences overlap with mine.
This week started off with some exciting news: I get to draft a chapter for Star Wars and the History of Transmedia Storytelling, a collection of academic essays on the franchise edited by Dan Hassler-Forest and Sean Guynes. This collection is scheduled for publication in 2017, to coincide with the 40th anniversary of the first film release.
In forty years a lot has changed for Star Wars, and my chapter focuses on the franchise’s feminist politics.
A recent YouTube video cut together all the lines spoken by women in the original Star Wars film trilogy, apart from Princess Leia. The total runtime was just over a minute. Women have been well represented among the ranks of Lucasfilm and LucasArts, but historically the franchise is not known for its groundbreaking portrayal of female characters on-screen. Even so, women have made up a significant and vocal portion of the franchise’s fanbase from early on. Though Princess Leia’s example is a powerful one, what else draws women to Star Wars, and how has the franchise adapted itself to tap into this market?
The chapters in this collection will ultimately demonstrate that Star Wars laid the foundations for the forms of convergence culture that rule the media industries today. As a commercial entertainment property and meaningful platform for audience participation, Star Wars created lifelong fans (and consumers) by continuing to develop characters and plots beyond the original text and by spreading that storyworld across as many media platforms as possible.
From the myriad female-led stories in the Star Wars ‘Legends’ (Expanded Universe) novels, to the casting of stars Ewan McGregor and Liam Neeson in The Phantom Menace, to the popular success of female characters like Ahsoka Tano in The Clone Wars and Rey in The Force Awakens, the first half of my chapter will provide a survey of the tactics used to quietly cater to an imagined female audience, from the earliest days of Star Wars’ transmedia empire. This is a complex subject, and I won’t be able to cover everything in the 5,000 words I’m allotted, but I’ll be doing my best to highlight key examples.
In the second part of the chapter, I plan to tie things together by using the matriarchal planet of Dathomir – first depicted in the bonkers (and bestselling) ‘Legends’ novel The Courtship of Princess Leia (1994) and later re-imagined for the canonical Clone Wars animated series (2008-2014) – as an illustration of the franchise’s own evolving relationship with feminist discourse.
How You Can Help
While I have the wealth of the internet and my own experiences to draw on, as well as the invaluable research of people like Michael Kaminski, J.W. Rinzler, and Will Brooker, ideally I want to take this research further. The information available online about Star Wars‘ marketing and mythmaking is pretty sparse before 1995 – no surprise, given that the internet wasn’t really a big thing until then – and there’s no way I can buy up all the paper fanzines, adverts, articles, and reports I would like for this project on a PhD student’s salary.
So. Here’s where you come in. Do you remember reading anything that described Star Wars as a boys’ club, or recall seeing an appeal to female audiences either in storytelling or in marketing? What kinds characters, stories, or merchandise has the franchise marketed with a clear idea of ‘men’ or ‘women’ in mind? What are some of the ways (good, bad, and hilarious) in which the Star Wars franchise has tried to appeal to women over the years? What kinds of things have been perceived by the media as gender-pandering?
I’m particularly interested in concrete examples from before the prequels (so 1977-1999), and am prioritising officially sanctioned attempts to sell Star Wars to women over grassroots projects, but would welcome anything you can send my way.
Now obviously, on the surface this description seems to ignore all the queer Star Wars fans out there. Please don’t think you’re not also important! Your fandom is a vital part of this research, especially because you’ve long been ignored by marketers. As the previous paragraph states, what I’m looking at here is the perceived audiences for canonical Star Wars products, not the actual ones. I will be on the lookout for slippage between these two groups. I’m also interested in the way the franchise queers itself over time – allowing for multiple readings of the same characters and stories – in order to adjust to changing ideas about gender.